preface thomas hoving (9 risultati)

Paperback. Condizione: Very Good. 310 pages, colour illustrations; 23 cm. Firm binding, clean inside copy. Moderate edgewear to wraps. Age toning. First Edition. Size: 8vo.

Soft Cover. Condizione: good+. 11" tall; 322pp; sepia photos throughout; monochrome ils & maps; lamination is missing from cover; back cover is soiled. Paperback.

Condizione: Near Fine. First Edition. NF, minor creasing to spine, slight general edgewear to wraps. A solid sound unmarked and beautifully illustrated copy. ; 4to, stiff photo illus. Wraps, 322pp. , selected reading list, sources of illustrations. A centennial exhibition at the Metropolitan Museum of Art from September 30, 1970 through January 3, 1971. Profusely illustrated with b/w and color photos.; 4to 11" - 13" tall.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. 1st Edition. Stated first printing. Nice book, tight and square with bright covers and spine, clean unmarked interior. Sturdy binding. Top edge of pageblock has mild foxing, else near fine. Jacket is bright with mild edge wear and slightly faded spine.

Hardcover. Condizione: Good. Book has mild rubbing to cover, mild rubbing to corners of cover, mild bumping to top corners of cover, mild rubbing to edges of spine, modest scratching to back cover, mild staining to front endpage and title pages, very slight toning to edges of pages, and mild toning to edgeblock.otherwise book is in good condition with a glossy cover, bright pages, and solid binding. Photos available upon request.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. 1st Edition. Pictorial glossy boards with pictorial dust jacket Illustrated endpapers. Sated first edition. Dust jacket has some light wear, slight chipping along top edge in mylar sleeve.

Hardcover. Condizione: Near Fine. Condizione sovraccoperta: Near Fine. 1st Edition. "First Printing" stated. Near Fine hardcover in Near Fine dust jacket [$12.95]. Dust jacket has a 3/8" inch closed tear to top edge of front panel; a one inch closed tear to top edge of rear panel; and minor additional wear to rear panel. Only trivial additional signs of age/wear/previous use to book and dust jacket. NOTE: DUE TO SIZE/WEIGHT, PRIORITY AND INTERNATIONAL SHIPPING WILL BE HIGHER THAN ABEBOOKS' QUOTE; IT WILL REFLECT ACTUAL COST, WITH NO ADDED HANDLING FEE.

Hardcover. First Bookstore Edition, First Printing. Quarto, 255 pages. In Very Good minus condition with Very Good minus condition dust jacket. Spine is white with red, yellow, and black lettering. Dust jacket protected by mylar covering, price cut, and has mild general soiling and shelving wear along extremities. Boards have mild general shelving wear along extremities. Text block moderately age toned, publisher's glue visible along tail edge of rear pastedown. Signed flat by 1966-1977 director of the Metropolitan Museum, Thomas Hoving, on title page. Contains insert from publisher regarding the decision to include Candice Van Ellison's controversial introduction between the rear cover of DJ and mylar covering. Contains pages from April 21, 1968 THE SUNDAY MAGAZINE of Bruce Davidson's photographs of Harlem and accompanying text between front endpapers. Shelved Room C. Controversy shrouded The Metropolitan Museum of Art's "Harlem on my Mind" long before its doors opened in 1969. The exhibition, which then-director Thomas Hoving asked Allon Schoener to guest curate as part of the museum's suite of centennial exhibitions, was nascent when Black artists began to withdraw support. They cited the lack of inclusion of Black artists working in and transforming the Harlem art scene, some of whom were already part of The MET's collection, such as the painter Jacob Lawrence. Inclusion was not in the vocabulary of the exhibition, which consisted of photographs featuring (yet clearly decentering) unnamed Harlem residents pictured next to prominent figures. The introduction chosen by Schoener for the catalog, an essay written by 17 year old Harlem resident Candice Van Ellison, contained anti-semitic and anti-Irish slurs which further offended Harlem residents in the wake of racial battles over the school district. In response to the exhibition, Black New York artists formed the Black Emergency Cultural Coalition to protest the exhibition for the entirety of its 16-week run. These protests responded to the exhibition with the question "Harlem on Whose Mind?", calling out white supremacy in the museum setting. Hoving agreed to pull the catalogue from publication and include inserts addressing the controversy in all existing copies. The BECC acted as a catalyst for major change in the ways that museums exhibit Black art, the reverberations of which are felt in the art world today as diverse artists continue the struggle to tell their own narratives. 1395659. Special Collections.

Softcover. First Edition, First Printing. Quarto, 255 pages. In Very Good minus condition. Spine is white with yellow and red lettering. Wraps have mild general soiling and scuffing along extremities. Text block moderately age toned throughout, mild bumping and bending wear to fore corners. Contains catalogue insert of Candice Van Ellison's response to the controversy surrounding her introduction. Signed flat on title page by 1966-1977 director of the Metropolitan Museum, Thomas Hoving. Shelved in Room C. Controversy shrouded The Metropolitan Museum of Art's "Harlem on my Mind" long before its doors opened in 1969. The exhibition, which then-director Thomas Hoving asked Allon Schoener to guest curate as part of the museum's suite of centennial exhibitions, was nascent when Black artists began to withdraw support. They cited the lack of inclusion of Black artists working in and transforming the Harlem art scene, some of whom were already part of The MET's collection, such as the painter Jacob Lawrence. Inclusion was not in the vocabulary of the exhibition, which consisted of photographs featuring (yet clearly decentering) unnamed Harlem residents pictured next to prominent figures. The introduction chosen by Schoener for the catalog, an essay written by 17 year old Harlem resident Candice Van Ellison, contained anti-semitic and anti-Irish slurs which further offended Harlem residents in the wake of racial battles over the school district. In response to the exhibition, Black New York artists formed the Black Emergency Cultural Coalition to protest the exhibition for the entirety of its 16-week run. These protests responded to the exhibition with the question "Harlem on Whose Mind?", calling out white supremacy in the museum setting. Hoving agreed to then pull the catalogue from publication and put inserts in the remaining copies. The BECC acted as a catalyst for major change in the ways that museums exhibit Black art, the reverberations of which are felt in the art world today as diverse artists continue the struggle to tell their own narratives. This is the original exhibition catalogue for "Harlem on my Mind" with the insert stating Candice Van Ellison's response to being held accountable for her racist remarks. 1395660. Special Collections.